MrDHWong
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"Better Man" is a biographical musical drama film based on the life of musician Robbie Williams. Directed and co-written by Michael Gracey ("The Greatest Showman") and starring Williams as "himself", it takes the enormous risk of using a bizarre gimmick to play along with the usual musician biopic tropes to nonetheless pull off a wildly entertaining story of overcoming adversity.
In the early 1980s in Staffordshire, England, eight-year-old Robert Williams dreams of becoming an entertainer, in spite of his lack of popularity among the other children his age. At the urging of his grandmother Betty (Alison Steadman) and his father Peter (Steve Pemberton), Robert finds comfort in his ability as a singer, although his happiness is short-lived once Peter suddenly abandons the family to follow his own dreams of fame. Years later, the now teenaged Robert decides to audition for a boy band, and thanks to his confident demeanour he earns a place among the members of the pop group "Take That", adopting the new name "Robbie" along the way. As Take That's popularity grows, Robbie fights off his inner demons and other crippling insecurities, resulting in his inevitable firing from the band. Amidst his downward spiral into despair, Robbie soon meets the right people who still support what he does creatively, later deciding to carve out a career as a solo artist, culminating in the release of his first album "Life Thru A Lens".
If you grew up listening to the radio in the late 1990s to early 2000s and are from either Europe or the British Commonwealth, then there's a good chance you've heard at least one Robbie Williams song within your lifetime. After first making a name for himself locally as a member of the popular boy band "Take That", Williams later became famous internationally as a solo performer, releasing several hit singles like "Angels", "Let Me Entertain You", and "Rock DJ". On a more personal front, I was never a loyal follower of his music yet I've always considered Williams a somewhat guilty pleasure of mine, since there's no denying his ability to sing songs that leave an impression on the listener thanks to his reliably in-your-face disposition. Though some like myself might have considered it a tad too early to release a biographical movie based on Williams's life, "Better Man" proves me wrong as it not only makes great use of one of the strangest gimmicks imaginable, but it also winds up being a highly satisfying tale of working through one's problems to make a name for yourself in this world.
To immediately address the elephant in the room (or in this case, primate), our main subject is always depicted as a CGI anthropomorphic chimpanzee instead of a regular human being. The reason for this is because right from the beginning, the real Robbie Williams informs us through narration that he has always considered himself "less evolved" than others, which in turn results in him viewing himself in such a manner. From an analytical perspective, this zoological likeness could be interpreted as an outward manifestation of Williams's own crippling insecurity holding him back, as nobody in the film ever questions Williams's appearance nor do they treat him any differently as they would another person. The film simply wants us to go along with this unorthodox creative decision, and surprisingly, it actually ends up working to its advantage.
Like with virtually every musician biopic since the beginning of time, almost all of the usual cliches and tropes are here in spades. From his parents doubting their son's success in the industry, his general lack of preparation for becoming famous, to his drug and alcohol use causing more problems than they fix, Robbie Williams is seen going through everything as to be expected. In most other cases, this would be a detriment to the film's entertainment value, but here it is necessary in establishing the important ups and downs in Williams's life. Where this helps elevate the film considerably over everything else is in the way it handles Williams battling his own self-doubt and human weaknesses to become the well-known musical figure we know today.
At numerous points throughout the story, Williams is shown confidently performing on stage in front of large crowds of his fans, many of which happily sing along to the lyrics of his songs. While doing so, Williams loses his grip on reality when he hallucinates younger chimpanzee versions of himself in the crowd calling him a failure and a loser. These are clearly intended to be Williams's negative emotions emerging to overpower what should be uplifting moments in his life, and how he must confront these problems in a constructive manner to become, as he puts it, a "better man". Though Williams is indeed a talented, passionate performer in his own right, we see that he is still a fundamentally normal person susceptible to all of the same emotions a human being may go through. As strange as this may seem, I found this to be a rather effective way of addressing how many of us, regardless of how successful we are in life, are fighting our own battles with self-doubt and anxiety everyday, even during moments that should be positive experiences.
Outside of a "Planet of the Apes" movie, you won't find better CGI primate special effects than right here in this film. Each time Williams is shown performing one of his songs, we often see close-ups of his face, giving us a good look at every painstakingly rendered realistic expression and muscle movement he is exhibiting in that very moment. Of course, the idea of watching a chimpanzee singing pop songs on stage would naturally come across as outright bizarre at first glance, but as the movie progresses, you tend to become used to it for the most part. By the time the movie had ended, I had almost completely forgotten I was even watching a CG primate and had truly accepted that this otherwise ridiculous occurrence could feasibly happen within the confines of the film's established universe. I suppose you could attribute this to the fact that nobody ever comments on Williams being a chimpanzee in the first place or perhaps the CG is so good that the character manages to take on a life of his own separate from everyone else. Either way, by some miracle the film has managed to make it work.
Thanks to the efforts of director Michael Gracey, best known for his work on 2017's "The Greatest Showman", the film revels in every moment of its spectacle and high production values, all while moving along at a breathless pace. Gracey effectively juggles each dramatic scene of Williams clashing with others who doubt his talents alongside his lively, energetic musical performances on stage. Even if you aren't too familiar with Williams's work, this film will no doubt give you just enough of an idea of why he is considered to be one of the most successful music artists of all time, engaging a crowd with his charming personality and delivering memorable live concerts for the world to see. What could have been an overindulgent, narcissistic biopic ends up becoming a wonderful tribute to its subject in all of the best ways possible.
Playing both himself and the chimpanzee version of himself, Robbie Williams proves he has just as much enthusiastic screen presence as he does on stage. Due to the fact that this film is biographical in nature, it is safe to assume that all of the difficulties Williams has faced throughout his career and private life is being realistically depicted on screen the way he actually envisioned it at the time, making this entire story seem far more personal than if some second-hand screenwriter had instead conjured it up by themselves. As a result, you really feel as though Williams is telling the audience his story the exact way he intends it to be told, complete with all of the sensationalism and dry humour one would expect from a performer like him. Regardless of whether you're a fan of him or not, you're bound to leave this film with a better understanding of why he has become such a beloved figure within the music industry.
Special mention also goes to Jonno Davies, the motion capture actor responsible for playing Williams's chimpanzee self. I can't imagine how hard it must have been for Davies to study all of Williams's concerts to properly mimic his stage swagger and notable facial expressions while also trying to convince the audience that an ape is even capable of doing so at the same time. Additionally, Davies holds his own during the film's more emotionally driven scenes, especially whenever Williams is seen grappling with his insecurities and working towards self-improvement. Davies is always in good sync with Williams, bringing a certain rawness to the way he conveys his subject's story to an audience who may not even know much about him in the first place.
For all the longtime fans of Robbie Williams as well as the uninitiated, "Better Man" overcomes its formulaic biopic structure thanks to its peculiarly effective gimmick at play as well as the respectful approach it takes towards its heavy-handed themes. Best of all, you don't even need to have heard of Williams to enjoy the film for what it is, just an appreciation for his fun music and the way he overcame his mental illnesses. It's a huge shame that this film has done so poorly at the box office, mainly due to the fact that Williams is not too well-known in the United States. On that note, I have a feeling that the film could very well achieve cult status in a matter of years because there aren't too many other movies out there that have taken so many creative risks that have paid off to this extent. With that said, as Williams hoped to do in his song "Let Me Entertain You", I can say that he has certainly succeeded in doing just that.
I rate it a solid 9/10.
In the early 1980s in Staffordshire, England, eight-year-old Robert Williams dreams of becoming an entertainer, in spite of his lack of popularity among the other children his age. At the urging of his grandmother Betty (Alison Steadman) and his father Peter (Steve Pemberton), Robert finds comfort in his ability as a singer, although his happiness is short-lived once Peter suddenly abandons the family to follow his own dreams of fame. Years later, the now teenaged Robert decides to audition for a boy band, and thanks to his confident demeanour he earns a place among the members of the pop group "Take That", adopting the new name "Robbie" along the way. As Take That's popularity grows, Robbie fights off his inner demons and other crippling insecurities, resulting in his inevitable firing from the band. Amidst his downward spiral into despair, Robbie soon meets the right people who still support what he does creatively, later deciding to carve out a career as a solo artist, culminating in the release of his first album "Life Thru A Lens".
If you grew up listening to the radio in the late 1990s to early 2000s and are from either Europe or the British Commonwealth, then there's a good chance you've heard at least one Robbie Williams song within your lifetime. After first making a name for himself locally as a member of the popular boy band "Take That", Williams later became famous internationally as a solo performer, releasing several hit singles like "Angels", "Let Me Entertain You", and "Rock DJ". On a more personal front, I was never a loyal follower of his music yet I've always considered Williams a somewhat guilty pleasure of mine, since there's no denying his ability to sing songs that leave an impression on the listener thanks to his reliably in-your-face disposition. Though some like myself might have considered it a tad too early to release a biographical movie based on Williams's life, "Better Man" proves me wrong as it not only makes great use of one of the strangest gimmicks imaginable, but it also winds up being a highly satisfying tale of working through one's problems to make a name for yourself in this world.
To immediately address the elephant in the room (or in this case, primate), our main subject is always depicted as a CGI anthropomorphic chimpanzee instead of a regular human being. The reason for this is because right from the beginning, the real Robbie Williams informs us through narration that he has always considered himself "less evolved" than others, which in turn results in him viewing himself in such a manner. From an analytical perspective, this zoological likeness could be interpreted as an outward manifestation of Williams's own crippling insecurity holding him back, as nobody in the film ever questions Williams's appearance nor do they treat him any differently as they would another person. The film simply wants us to go along with this unorthodox creative decision, and surprisingly, it actually ends up working to its advantage.
Like with virtually every musician biopic since the beginning of time, almost all of the usual cliches and tropes are here in spades. From his parents doubting their son's success in the industry, his general lack of preparation for becoming famous, to his drug and alcohol use causing more problems than they fix, Robbie Williams is seen going through everything as to be expected. In most other cases, this would be a detriment to the film's entertainment value, but here it is necessary in establishing the important ups and downs in Williams's life. Where this helps elevate the film considerably over everything else is in the way it handles Williams battling his own self-doubt and human weaknesses to become the well-known musical figure we know today.
At numerous points throughout the story, Williams is shown confidently performing on stage in front of large crowds of his fans, many of which happily sing along to the lyrics of his songs. While doing so, Williams loses his grip on reality when he hallucinates younger chimpanzee versions of himself in the crowd calling him a failure and a loser. These are clearly intended to be Williams's negative emotions emerging to overpower what should be uplifting moments in his life, and how he must confront these problems in a constructive manner to become, as he puts it, a "better man". Though Williams is indeed a talented, passionate performer in his own right, we see that he is still a fundamentally normal person susceptible to all of the same emotions a human being may go through. As strange as this may seem, I found this to be a rather effective way of addressing how many of us, regardless of how successful we are in life, are fighting our own battles with self-doubt and anxiety everyday, even during moments that should be positive experiences.
Outside of a "Planet of the Apes" movie, you won't find better CGI primate special effects than right here in this film. Each time Williams is shown performing one of his songs, we often see close-ups of his face, giving us a good look at every painstakingly rendered realistic expression and muscle movement he is exhibiting in that very moment. Of course, the idea of watching a chimpanzee singing pop songs on stage would naturally come across as outright bizarre at first glance, but as the movie progresses, you tend to become used to it for the most part. By the time the movie had ended, I had almost completely forgotten I was even watching a CG primate and had truly accepted that this otherwise ridiculous occurrence could feasibly happen within the confines of the film's established universe. I suppose you could attribute this to the fact that nobody ever comments on Williams being a chimpanzee in the first place or perhaps the CG is so good that the character manages to take on a life of his own separate from everyone else. Either way, by some miracle the film has managed to make it work.
Thanks to the efforts of director Michael Gracey, best known for his work on 2017's "The Greatest Showman", the film revels in every moment of its spectacle and high production values, all while moving along at a breathless pace. Gracey effectively juggles each dramatic scene of Williams clashing with others who doubt his talents alongside his lively, energetic musical performances on stage. Even if you aren't too familiar with Williams's work, this film will no doubt give you just enough of an idea of why he is considered to be one of the most successful music artists of all time, engaging a crowd with his charming personality and delivering memorable live concerts for the world to see. What could have been an overindulgent, narcissistic biopic ends up becoming a wonderful tribute to its subject in all of the best ways possible.
Playing both himself and the chimpanzee version of himself, Robbie Williams proves he has just as much enthusiastic screen presence as he does on stage. Due to the fact that this film is biographical in nature, it is safe to assume that all of the difficulties Williams has faced throughout his career and private life is being realistically depicted on screen the way he actually envisioned it at the time, making this entire story seem far more personal than if some second-hand screenwriter had instead conjured it up by themselves. As a result, you really feel as though Williams is telling the audience his story the exact way he intends it to be told, complete with all of the sensationalism and dry humour one would expect from a performer like him. Regardless of whether you're a fan of him or not, you're bound to leave this film with a better understanding of why he has become such a beloved figure within the music industry.
Special mention also goes to Jonno Davies, the motion capture actor responsible for playing Williams's chimpanzee self. I can't imagine how hard it must have been for Davies to study all of Williams's concerts to properly mimic his stage swagger and notable facial expressions while also trying to convince the audience that an ape is even capable of doing so at the same time. Additionally, Davies holds his own during the film's more emotionally driven scenes, especially whenever Williams is seen grappling with his insecurities and working towards self-improvement. Davies is always in good sync with Williams, bringing a certain rawness to the way he conveys his subject's story to an audience who may not even know much about him in the first place.
For all the longtime fans of Robbie Williams as well as the uninitiated, "Better Man" overcomes its formulaic biopic structure thanks to its peculiarly effective gimmick at play as well as the respectful approach it takes towards its heavy-handed themes. Best of all, you don't even need to have heard of Williams to enjoy the film for what it is, just an appreciation for his fun music and the way he overcame his mental illnesses. It's a huge shame that this film has done so poorly at the box office, mainly due to the fact that Williams is not too well-known in the United States. On that note, I have a feeling that the film could very well achieve cult status in a matter of years because there aren't too many other movies out there that have taken so many creative risks that have paid off to this extent. With that said, as Williams hoped to do in his song "Let Me Entertain You", I can say that he has certainly succeeded in doing just that.
I rate it a solid 9/10.
"Novocaine" is a comedy action thriller film directed by Dan Berk and Robert Olsen ("Body", "Villains", "Significant Other"). Starring Jack Quaid and Amber Midthunder, it plays into its gimmick quite effectively with plenty of humour and some solid action for good measure.
In San Diego, the shy and introverted Nathan "Nate" Caine (Jack Quaid) works as an assistant manager at a credit union bank. Because of a genetic disorder known as Congenital Insensitivity to Pain with Anhidrosis (CIPA), Nate has never been able to feel any kind of physical pain his entire life, meaning that he must constantly find ways to avoid anything that could potentially cause him serious injury without him even knowing it. As he strikes up a romance with his co-worker Sherry (Amber Midthunder), Nate gradually comes out of his shell and becomes a more confident person in spite of his disorder. One day, the bank is robbed at gunpoint by a group of criminals who murder Nate's boss and take Sherry with them as a hostage. Acting entirely on impulse, Nate quickly steals a police car and pursues the robbers to rescue Sherry before they have the chance to kill her as well.
At a glance, living a life without ever feeling pain sounds like it would be a rather idealistic one. However, the deeper you think about it, the more dangerous it could be in the long run due to the fact that any kind of unknown sustained wound could very well lead to serious problems that if not treated may end up killing you slowly. A good example of this would be with the James Bond villain Renard (Robert Carlyle), whose inability to feel pain proves both a blessing and a curse because of the way he uses it to aid him in his deadly, megalomaniacal goal before it eventually claims his life. In the 2025 film "Novocaine", the protagonist Nate is shown to have never felt physical pain in his life and using that to his advantage, we have a movie whose gimmick proves to one of its best selling points.
During the first act, the film establishes most of the basics regarding the life Nate lives with his problematic CIPA disorder. We see that he has had all of the corners of his furniture fitted with tennis balls to prevent him from injuring himself and that he must set an alarm to go off every three hours as a reminder to use the bathroom so his bladder and colon don't explode from completely filling up. As well as this, Nate is unable to eat any solid foods due to the possibility of him unintentionally biting off his tongue while chewing, requiring all of his meals to be in liquid form. It is also shown that Nate is highly insecure about having CIPA, choosing to keep it a secret from most people and in doing so he has low self-confidence with women. This changes after he converses with his co-worker Sherry, who seems fascinated by Nate's incapacity for feeling pain.
Whilst out on a date, Nate informs Sherry of how what she perceives as him having "superhuman powers" is in actuality one of the worst kinds of handicaps a person could ever have. This is further evidenced when Nate's former school bully suddenly approaches the pair to remind him of the physical torment he was responsible for when they were young, forever branding him with the derogatory nickname "Novocaine". Regardless, Sherry brushes this all off and tells Nate she still likes him for who he is, leading to the two developing romantic feelings for each other. Later on, Sherry is taken hostage by a group of bank robbers and using the newfound confidence she instilled in him, Nate gives chase using his CIPA as a way to fight back against anything thrown at him. What follows from here on out is an action-packed and sometimes very funny adventure that actually uses its otherwise contrived plot device in the best ways possible, never once forgetting how to be fun in the process.
Effectively juggling both elements of comedy and action, directors Dan Berk and Robert Olsen show their audience how Nate's CIPA can be used believably for both purposes throughout the film. For instance, during one particular fight scene, Nate repeatedly punches some broken glass on the ground to embed into his fists to use against his foe. While doing this, Nate's much larger enemy is struck dumb as to how something like this is even possible given his scrawny frame, allowing Nate to have an unexpected advantage during the tussle. This leads to an intense stand-off between the two fighters, with the much smaller Nate enduring more physical punishment thanks to him obviously being unable to feel any pain.
On the more humorous side, one part that often had me laughing out loud was when Nate is venturing through a house filled with booby traps. Here, Nate is shot with an arrow in his leg and hit with a spiked metal ball in his back, things that would otherwise cause a normal person to writhe in agony but for him it only elicits a mildly inconvenient "Huh? What was that?". There are various other moments like this where I also found myself chuckling at due to the sheer absurdity of what is happening, and best of all most of them felt as though they actually mattered to the plot. Berk and Olsen have certainly proved they know how to sequence an action scene and add in any necessary comedic moments without them seeming too forced or distracting from the overall tone, something of which many other filmmakers usually fail at nowadays.
Doing what he does best, Jack Quaid plays up his everyman demeanour in the role of Nate, which I would even go so far as to call his best film performance so far. As I have said once before, Quaid has always had that air of relatability that goes along with every one of his characters, something of which has me slightly concerned he may end up permanently typecast as a result. Despite this, the character of Nate suits him perfectly, and seeing how he overcomes his own insecurities for the sake of someone he genuinely cares about is quite wholesome to watch. Additionally, Quaid handles himself well during the action scenes, with his character's inability to feel pain allowing him to catch his enemies off-guard at the most inopportune times. Thanks to the likability of Nate as a person, you will always find yourself cheering for him against all opposition.
Though she has only had one other notable starring role, that being in 2022's "Prey", Amber Midthunder carries herself as a believable co-lead in the role of Sherry. I enjoyed watching how close Sherry was growing towards Nate during the film's first act, something that will prove pivotal throughout the rest of the story much later on. Sherry seemed like someone actually worth rescuing, and not some boring damsel-in-distress character we've all seen many times before. It also helps that Midthunder and Quaid have good chemistry with each other, making their on-screen relationship a credible catalyst towards setting the whole kidnapping and rescue plot in motion.
Considering its otherwise one-note gimmick, "Novocaine" nevertheless provides enough entertainment in both the action and comedy departments to warrant at least one viewing from fans of each respective genre. Its fast-paced action scenes in addition to its hilarious moments of comic relief help elevate it higher above the usual onslaught of similar films that fail to engage audiences the whole way through. I look forward to any forthcoming movies that Dan Berk and Robert Olsen may have in store for us, because if they are anything like the quality of this film, then things definitely look good for this filmmaking duo. With that said, I see very little pain in this pair's future and only pleasure where it matters creatively.
I rate it 7/10.
In San Diego, the shy and introverted Nathan "Nate" Caine (Jack Quaid) works as an assistant manager at a credit union bank. Because of a genetic disorder known as Congenital Insensitivity to Pain with Anhidrosis (CIPA), Nate has never been able to feel any kind of physical pain his entire life, meaning that he must constantly find ways to avoid anything that could potentially cause him serious injury without him even knowing it. As he strikes up a romance with his co-worker Sherry (Amber Midthunder), Nate gradually comes out of his shell and becomes a more confident person in spite of his disorder. One day, the bank is robbed at gunpoint by a group of criminals who murder Nate's boss and take Sherry with them as a hostage. Acting entirely on impulse, Nate quickly steals a police car and pursues the robbers to rescue Sherry before they have the chance to kill her as well.
At a glance, living a life without ever feeling pain sounds like it would be a rather idealistic one. However, the deeper you think about it, the more dangerous it could be in the long run due to the fact that any kind of unknown sustained wound could very well lead to serious problems that if not treated may end up killing you slowly. A good example of this would be with the James Bond villain Renard (Robert Carlyle), whose inability to feel pain proves both a blessing and a curse because of the way he uses it to aid him in his deadly, megalomaniacal goal before it eventually claims his life. In the 2025 film "Novocaine", the protagonist Nate is shown to have never felt physical pain in his life and using that to his advantage, we have a movie whose gimmick proves to one of its best selling points.
During the first act, the film establishes most of the basics regarding the life Nate lives with his problematic CIPA disorder. We see that he has had all of the corners of his furniture fitted with tennis balls to prevent him from injuring himself and that he must set an alarm to go off every three hours as a reminder to use the bathroom so his bladder and colon don't explode from completely filling up. As well as this, Nate is unable to eat any solid foods due to the possibility of him unintentionally biting off his tongue while chewing, requiring all of his meals to be in liquid form. It is also shown that Nate is highly insecure about having CIPA, choosing to keep it a secret from most people and in doing so he has low self-confidence with women. This changes after he converses with his co-worker Sherry, who seems fascinated by Nate's incapacity for feeling pain.
Whilst out on a date, Nate informs Sherry of how what she perceives as him having "superhuman powers" is in actuality one of the worst kinds of handicaps a person could ever have. This is further evidenced when Nate's former school bully suddenly approaches the pair to remind him of the physical torment he was responsible for when they were young, forever branding him with the derogatory nickname "Novocaine". Regardless, Sherry brushes this all off and tells Nate she still likes him for who he is, leading to the two developing romantic feelings for each other. Later on, Sherry is taken hostage by a group of bank robbers and using the newfound confidence she instilled in him, Nate gives chase using his CIPA as a way to fight back against anything thrown at him. What follows from here on out is an action-packed and sometimes very funny adventure that actually uses its otherwise contrived plot device in the best ways possible, never once forgetting how to be fun in the process.
Effectively juggling both elements of comedy and action, directors Dan Berk and Robert Olsen show their audience how Nate's CIPA can be used believably for both purposes throughout the film. For instance, during one particular fight scene, Nate repeatedly punches some broken glass on the ground to embed into his fists to use against his foe. While doing this, Nate's much larger enemy is struck dumb as to how something like this is even possible given his scrawny frame, allowing Nate to have an unexpected advantage during the tussle. This leads to an intense stand-off between the two fighters, with the much smaller Nate enduring more physical punishment thanks to him obviously being unable to feel any pain.
On the more humorous side, one part that often had me laughing out loud was when Nate is venturing through a house filled with booby traps. Here, Nate is shot with an arrow in his leg and hit with a spiked metal ball in his back, things that would otherwise cause a normal person to writhe in agony but for him it only elicits a mildly inconvenient "Huh? What was that?". There are various other moments like this where I also found myself chuckling at due to the sheer absurdity of what is happening, and best of all most of them felt as though they actually mattered to the plot. Berk and Olsen have certainly proved they know how to sequence an action scene and add in any necessary comedic moments without them seeming too forced or distracting from the overall tone, something of which many other filmmakers usually fail at nowadays.
Doing what he does best, Jack Quaid plays up his everyman demeanour in the role of Nate, which I would even go so far as to call his best film performance so far. As I have said once before, Quaid has always had that air of relatability that goes along with every one of his characters, something of which has me slightly concerned he may end up permanently typecast as a result. Despite this, the character of Nate suits him perfectly, and seeing how he overcomes his own insecurities for the sake of someone he genuinely cares about is quite wholesome to watch. Additionally, Quaid handles himself well during the action scenes, with his character's inability to feel pain allowing him to catch his enemies off-guard at the most inopportune times. Thanks to the likability of Nate as a person, you will always find yourself cheering for him against all opposition.
Though she has only had one other notable starring role, that being in 2022's "Prey", Amber Midthunder carries herself as a believable co-lead in the role of Sherry. I enjoyed watching how close Sherry was growing towards Nate during the film's first act, something that will prove pivotal throughout the rest of the story much later on. Sherry seemed like someone actually worth rescuing, and not some boring damsel-in-distress character we've all seen many times before. It also helps that Midthunder and Quaid have good chemistry with each other, making their on-screen relationship a credible catalyst towards setting the whole kidnapping and rescue plot in motion.
Considering its otherwise one-note gimmick, "Novocaine" nevertheless provides enough entertainment in both the action and comedy departments to warrant at least one viewing from fans of each respective genre. Its fast-paced action scenes in addition to its hilarious moments of comic relief help elevate it higher above the usual onslaught of similar films that fail to engage audiences the whole way through. I look forward to any forthcoming movies that Dan Berk and Robert Olsen may have in store for us, because if they are anything like the quality of this film, then things definitely look good for this filmmaking duo. With that said, I see very little pain in this pair's future and only pleasure where it matters creatively.
I rate it 7/10.
"Black Bag" is a spy thriller film directed by Steven Soderbergh ("Erin Brockovich", "Traffic", "Ocean's Eleven"). Starring Michael Fassbender and Cate Blanchett, it offers some occasionally interesting twists and turns throughout its slow burning, underwhelming story.
In the United Kingdom, British Intelligence officer George Woodhouse (Michael Fassbender) is given the task of weeding out the person responsible for leaking classified software known by its codename "Severus". Among those suspected are George's wife and fellow intelligence officer Kathryn (Cate Blanchett), satellite expert Clarissa (Marisa Abela), her boyfriend Freddie (Tom Burke), psychiatrist Zoe (Naomie Harris), and her boyfriend James (Regé-Jean Page). Under the guise of a friendly dinner party, George invites the suspects over to his house and puts drugs in his guest's food in order to lower their guard, using this opportunity to press them all for vital details. As the evening continues, George learns more information about his guests than he had initially hoped, prompting him to speculate that this leak has much deeper consequences for everyone's future.
Pioneering modern independent cinema, filmmaker Steven Soderbergh has accumulated quite an impressive resume within the industry over the years. From indie hits like "Sex, Lies, and Videotape" to the mainstream Oscar-winning "Traffic", Soderbergh demonstrates much creative versatility throughout his lengthy career, showing that it is possible for filmmakers to effectively alternate between the avant-garde, experimental works and simple, universally appealing features. Considering his large filmography, it is likely that audiences from all walks of life will have viewed at least one of Soderbergh's movies whether they realise it or not. In his 2025 film "Black Bag", Soderbergh shows most of his usual hallmarks as a director, and depending on your personal interest in his movies, will either draw you in right away or alienate you equally as fast.
To be fair, the film begins on a promising enough note, with our protagonist George gaining the intel on what he must do to figure out who is the traitor among his line of work. Shortly after, we watch as George meticulously sets up a dinner party with all of the most likely suspects in leaking a software program that is considered top-secret. What makes this interesting is that all of these people have been close to George at one point in his life, with one of them even being his own wife and co-worker Kathryn. Though what follows is a clever exchange between George and these suspected leakers, afterwards, the story becomes rather bogged down with uninvolving exposition and repetitive scenes that don't amount to all that much. Maybe this is just the way the characters are supposed to be written here, but I could not feel any real attachment to anybody outside of the fact that someone's relevance will affect the film's final outcome, which seems like a cheap way to keep the audience watching in spite of other issues.
In terms of production values, Soderbergh is clearly going for a throwback to the old spy thrillers of the 60s and 70s, mirroring the likes of the "James Bond" franchise. There's no denying the film looks nice at times, especially during parts that show the inner workings of British Intelligence, but without an involving story it doesn't really feel like the viewer is immersed in this environment along with the characters. I place the blame here on David Koepp's convoluted screenplay, which jumps around from one plot point to another, usually involving something related to one of the characters' weakly fleshed-out backstory. As a result, the film feels more like a cut-and-paste spy thriller with a retro paint job rather than a sleekly made homage to the genre classics of many decades prior. Some might like this approach as it allows for the viewer to simply take the film for what it is, but I would have preferred if it had done something much cleverer with its set-up.
Another thing that Soderbergh usually does well is his handling of ensemble casts, but with this film it seems far more lacking than what you would expect. Michael Fassbender is watchable enough as George, although once you get past the initial introductory phase with his character, there's not a whole lot else to say about him. He comes across as your typical secret agent with all of the necessary expertise at his disposal, and there are some moments where I was intrigued to see what he would do to uncover who the leaker is within his organisation. The best scenes with George involve him probing the other characters with a lie detector, testing their limits of how many personal questions they are able to answer before becoming uncomfortable with the whole situation.
Cate Blanchett is in decent sync with Fassbender as George's wife Kathryn, as their spousal dynamic is one of the key reasons the film actually works in the first place. Since she is also an intelligence officer, the film teases us with the idea that Kathryn could very well be the one George is searching for throughout this whole ordeal, even if that notion seems almost too obvious at times. There are moments where the film shows the parallels between the characters' marriage and their work lives, with their commitment to each requiring a certain amount of skill to keep both of them going for as long as they have. Without revealing what happens, I liked watching the two characters interact with each other, as both Blanchett and Fassbender have believable chemistry among themselves.
Concerning the rest of the cast, I found Marisa Abela, Tom Burke, Naomie Harris, and Regé-Jean Page surprisingly underwritten for the most part. Since these four are supposed to be among the most important suspects in the whole story, it seems weird that very little time is devoted to fleshing them out beyond the fact that they are co-workers of George. The only time I actually felt any emotional attachment to any of them was during the film's climax, and that was only because of my fleeting curiosity over what their role in the leak could possibly be and not in regards to them as properly developed people. Had the film dedicated more time to focusing on their relationships with George and others, I might have cared more about what happened to them in the end, but instead I found myself forgetting about them quickly after the movie had finished.
Though not without the occasional fun moment, "Black Bag" unfortunately finds itself ranking among Steven Soderbergh's weaker efforts. No doubt there will be hardcore fans of the director who will defend this movie based solely on its artistic merits, but any newcomers and those craving a more engaging experience are sure to be left disappointed. At this point in time, Soderbergh can freely release as much polarising work as he wants and not have to worry too much about alienating audiences since the successes of his past filmography has already guaranteed that his legacy will remain relatively untarnished. With that said, I hope his future endeavours provide better entertainment than what we have here.
I rate it 6/10.
In the United Kingdom, British Intelligence officer George Woodhouse (Michael Fassbender) is given the task of weeding out the person responsible for leaking classified software known by its codename "Severus". Among those suspected are George's wife and fellow intelligence officer Kathryn (Cate Blanchett), satellite expert Clarissa (Marisa Abela), her boyfriend Freddie (Tom Burke), psychiatrist Zoe (Naomie Harris), and her boyfriend James (Regé-Jean Page). Under the guise of a friendly dinner party, George invites the suspects over to his house and puts drugs in his guest's food in order to lower their guard, using this opportunity to press them all for vital details. As the evening continues, George learns more information about his guests than he had initially hoped, prompting him to speculate that this leak has much deeper consequences for everyone's future.
Pioneering modern independent cinema, filmmaker Steven Soderbergh has accumulated quite an impressive resume within the industry over the years. From indie hits like "Sex, Lies, and Videotape" to the mainstream Oscar-winning "Traffic", Soderbergh demonstrates much creative versatility throughout his lengthy career, showing that it is possible for filmmakers to effectively alternate between the avant-garde, experimental works and simple, universally appealing features. Considering his large filmography, it is likely that audiences from all walks of life will have viewed at least one of Soderbergh's movies whether they realise it or not. In his 2025 film "Black Bag", Soderbergh shows most of his usual hallmarks as a director, and depending on your personal interest in his movies, will either draw you in right away or alienate you equally as fast.
To be fair, the film begins on a promising enough note, with our protagonist George gaining the intel on what he must do to figure out who is the traitor among his line of work. Shortly after, we watch as George meticulously sets up a dinner party with all of the most likely suspects in leaking a software program that is considered top-secret. What makes this interesting is that all of these people have been close to George at one point in his life, with one of them even being his own wife and co-worker Kathryn. Though what follows is a clever exchange between George and these suspected leakers, afterwards, the story becomes rather bogged down with uninvolving exposition and repetitive scenes that don't amount to all that much. Maybe this is just the way the characters are supposed to be written here, but I could not feel any real attachment to anybody outside of the fact that someone's relevance will affect the film's final outcome, which seems like a cheap way to keep the audience watching in spite of other issues.
In terms of production values, Soderbergh is clearly going for a throwback to the old spy thrillers of the 60s and 70s, mirroring the likes of the "James Bond" franchise. There's no denying the film looks nice at times, especially during parts that show the inner workings of British Intelligence, but without an involving story it doesn't really feel like the viewer is immersed in this environment along with the characters. I place the blame here on David Koepp's convoluted screenplay, which jumps around from one plot point to another, usually involving something related to one of the characters' weakly fleshed-out backstory. As a result, the film feels more like a cut-and-paste spy thriller with a retro paint job rather than a sleekly made homage to the genre classics of many decades prior. Some might like this approach as it allows for the viewer to simply take the film for what it is, but I would have preferred if it had done something much cleverer with its set-up.
Another thing that Soderbergh usually does well is his handling of ensemble casts, but with this film it seems far more lacking than what you would expect. Michael Fassbender is watchable enough as George, although once you get past the initial introductory phase with his character, there's not a whole lot else to say about him. He comes across as your typical secret agent with all of the necessary expertise at his disposal, and there are some moments where I was intrigued to see what he would do to uncover who the leaker is within his organisation. The best scenes with George involve him probing the other characters with a lie detector, testing their limits of how many personal questions they are able to answer before becoming uncomfortable with the whole situation.
Cate Blanchett is in decent sync with Fassbender as George's wife Kathryn, as their spousal dynamic is one of the key reasons the film actually works in the first place. Since she is also an intelligence officer, the film teases us with the idea that Kathryn could very well be the one George is searching for throughout this whole ordeal, even if that notion seems almost too obvious at times. There are moments where the film shows the parallels between the characters' marriage and their work lives, with their commitment to each requiring a certain amount of skill to keep both of them going for as long as they have. Without revealing what happens, I liked watching the two characters interact with each other, as both Blanchett and Fassbender have believable chemistry among themselves.
Concerning the rest of the cast, I found Marisa Abela, Tom Burke, Naomie Harris, and Regé-Jean Page surprisingly underwritten for the most part. Since these four are supposed to be among the most important suspects in the whole story, it seems weird that very little time is devoted to fleshing them out beyond the fact that they are co-workers of George. The only time I actually felt any emotional attachment to any of them was during the film's climax, and that was only because of my fleeting curiosity over what their role in the leak could possibly be and not in regards to them as properly developed people. Had the film dedicated more time to focusing on their relationships with George and others, I might have cared more about what happened to them in the end, but instead I found myself forgetting about them quickly after the movie had finished.
Though not without the occasional fun moment, "Black Bag" unfortunately finds itself ranking among Steven Soderbergh's weaker efforts. No doubt there will be hardcore fans of the director who will defend this movie based solely on its artistic merits, but any newcomers and those craving a more engaging experience are sure to be left disappointed. At this point in time, Soderbergh can freely release as much polarising work as he wants and not have to worry too much about alienating audiences since the successes of his past filmography has already guaranteed that his legacy will remain relatively untarnished. With that said, I hope his future endeavours provide better entertainment than what we have here.
I rate it 6/10.